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Transforming Hybridities: Brendan Lee Satish Tang's Manga Ormolu and Michael Nicoll Yahgulanaas' Haida Manga

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Transforming Hybridities: Brendan Lee Satish Tang's Manga Ormolu and Michael Nicoll Yahgulanaas' Haida Manga Transforming Hybridities: Brendan Lee Satish Tang's Manga Ormolu and Michael Nicoll Yahgulanaas' Haida Manga Wesley Benjamin Colclough IV A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada April 2012 © Wesley Benjamin Colclough IV, 2012 i CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Wesley Benjamin Colclough IV Entitled: Transforming Hybridities: Brendan Lee Satish Tang's Manga Ormolu and Michael Nicoll Yahgulanaas' Haida Manga and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ______________________________ Chair ______________________________ Examiner Dr. Catherine Mackenzie ______________________________ Examiner Dr. Johanne Sloan ______________________________ Supervisor Dr. Alice Ming Wai Jim Approved by ____________________________________________________ Dr. Johanne Sloan, Graduate Program Director _________________ 2012 __________________________________ Dr. Catherine Wild, Dean of Faculty ii ABSTRACT Transforming Hybridities: Brendan Lee Satish Tang's Manga Ormolu and Michael Nicoll Yahgulanaas' Haida Manga Wesley Benjamin Colclough IV This essay discusses the works of artists Michael Nicoll Yahgulanaas and Brendan Lee Satish Tang as they relate to manga and popular culture. Known as Haida Manga and Manga Ormolu, these hybrid works move through global circuits of exchange integral to a transcultural aesthetic where multiple signifiers have been folded and fused into one. Manga, like blue jeans and cell phones, unites viewers with universally recognizable themes in the art. Yahgulanaas, a First Nations artist of mixed ancestry, introduced and developed “Haida Manga” by combining Japanese manga graphic novels with Haida narratives and formline , creating contemporary forms for old stories. In Coppers from the Hood, the traditional copper, an object of great respect and value in traditional potlatch ceremonies, is playfully replaced by car hoods sandblasted and painted copper with Haida Manga characters. Yahgulanaas' creative gesture demonstrates Haida is a living culture with an irrepressible power to innovate and transform. Tang's Manga Ormolu ceramic sculptures subvert expectations of Chinese porcelain in Western culture through an uncanny amalgamation with war toys and techno-pop prosthetics. Japanese manga, found in fragments adjoining the Chinese vessel, points to the contemporary form of Orientalism where perceptions of Asia in Eurocentric nations are predetermined by cultural imports depicting transhuman dystopic futures of robot Armageddon. The distillation of ethnicity into one character-type is rendered ironically absurd. Strangely familiar, yet not quite the expected narrative of erotic and tranquil sublimity, these hybrid sculptures jar the Western viewer, and point to an oft forsaken subjectivity. iii ACKNOWLEDGEMENTS I would like to extend my sincere and heartfelt thanks to the artists, Brendan Lee Satish Tang and Michael Nicoll Yahgulanaas, whose work this essay focuses on. Thank you for your kindness and cooperation throughout this process. Your artwork will always be an inspiration and a light in this life's journey. I certainly could not have begun without your immense contribution. Dr. Alice Ming Wai Jim, as my advisor you have been an incredible guide and teacher, keeping me on the good path home when I would have otherwise explored every rabbit trail and deer track that caught my eye. To the Concordia University Department of Art History, I owe an extra special thanks to all of the amazing professors who taught me, and to all of the staff seen and unseen who maintain this space for us to share knowledge. This includes, but is not limited to, Dina Vescio, Drs. Loren Lerner, Cynthia Hammond, Elaine Paterson, Alice Jim and Johanne Sloan who also read my thesis and contributed essential feedback. I never would have made it to the graduate level if not for the immeasurable help from Dr. Linda Morra in the Department of Literature at Bishop's University. Also, I also received much academic guidance which prepared me for this essay from Dr. Mary Ellen Donnan in the Department of Sociology. A strong background in art history was made possible by instruction from Drs. Laurie Milner, Claude Lacroix and Gwendolyn Trottein. Aside from my academic instruction, I would like to thank my family and friends who have stood by me and supported me through thick and thin, so many, in fact, it would be impossible to name everyone here and now, but you are all in my hearts always. I must iv make mention of my maternal grandmother who taught me what it means to have faith, compassion and love even when no one is paying attention, my paternal grandmother who still offers me guidance and hope when I am in doubt and in search of meaning. Much love to my parents who put a roof over my head and fed me even when they didn't fully understand me. A heartfelt thanks to my friends Rad, Leo, Erik, Marcin, and Scott, and to so many wonderful sisters, kindred spirits all. Finally, Je t'aime beaucoup Nyima! And Natasha Diana Stovall, words cannot describe how I feel... Aho Mitakuye Oyasin Thanks to All my Relations Power To the Peaceful Now and Forever May the Circle Be Unbroken Allelujah! v TABLE OF CONTENTS List of Figures..................................................................................................................v INTRODUCTION...........................................................................................................1 Manga.......................................................................................................6 SECTION ONE: Transformation and Transculturalism in Manga Ormolu........................8 Chinese Ceramic Production: Qinghua Ci and Global Trade..................11 Chinoiserie...............................................................................................16 Mecha / Tech as 21st Century Ormolu......................................................19 SECTION TWO: Haida Manga & the Space In-Between....................................................31 Installation Work......................................................................................41 CONCLUSION...............................................................................................................47 Bibliography....................................................................................................................50 Figures.............................................................................................................................54 vi LIST OF FIGURES 1. Brendan Lee Satish Tang, Manga Ormolu ver. 5.0-c, 2009. ceramic, 16” X 11”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012). 2. Brendan Lee Satish Tang, Manga Ormolu ver. 5.0-g, 2010. ceramic, 16” X 30”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012). 3. Brendan Lee Satish Tang, Manga Ormolu ver. 3.0-a, 2007. ceramic, 13” X 25”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012). 4. Brendan Lee Satish Tang, Manga Ormolu ver. 3.0-b, 2007. ceramic, 17” X 14”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012). 5. Brendan Lee Satish Tang, Manga Ormolu ver. 4.0-k, 2010. ceramic, 19.5” X 18”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012). 6. Brendan Lee Satish Tang, Manga Ormolu ver. 2.0-e, 2003. ceramic, 11.5” X 9”, Brendan Lee Satish Tang - Gallery 1: Manga Ormolu, online gallery. http://brendantang.com/?page_id=4 (1 January 2012) 7. Brendan Lee Satish Tang, Manga Ormolu ver. 2.0-l, 2009. ceramic, 28” X 10”, Brendan Lee Satish Tang – online blog. http://brendantang.com/?p=269 (1 January 2012). 8. Michael Nicoll Yahgulanaas, Untitled, Coppers from the Hood series, 2011. copper, steel, acrylics. Commissioned by British Museum. http://mny.ca/coppers- from-the-hood.html (1 March 2012). 9. Michael Nicoll Yahgulanaas, Stolen But Recovered, Coppers from the Hood series, 2007.Plymouth and Pontiac car hoods, copper leaf, paint, 185 x 140 cm. Collection of the Glenbow Museum, Calgary, Alberta. http://mny.ca/coppers- from-the-hood.html (1 March 2012). 10. Michael Nicoll Yahgulanaas, Terse Cell, Coppers from the Hood series, 2010. 1995 Tercel car hood, copper leaf, paint, exhibited Douglas Udell Gallery, Vancouver (1 March 2012). vii 11. Michael Nicoll Yahgulanaas, Untitled, Coppers from the Hood series, 2010. copper, steel, acrylics. One of five commissioned by the Listel Hotel, Whistler, BC, Canada . http://mny.ca/coppers-from-the-hood.html ( 1 March 2012). 12. Michael Nicoll Yahgulanaas, Bone Box, Meddling in the Museum intervention, July 2007. Acrylics, plywood, copper and steel, 1.8 x 2.4 m. Collection of the Museum of Anthropology, University of British Columbia, Vancouver, British Columbia http://mny.ca/bone-box.html (1 March 2012). 13. Michael Nicoll Yahgulanaas, Pedal To The Meddle, Meddling in the Museum intervention, July 2007. Pontiac Firefly, autobody paint, argillite
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